If you maintain that comic opera was born all at once at the beginning of the 18th century, you are making a huge mistake. Its birth reveals much more than that: a school of thought that brought performances from fair stages to theater stages, an international inspiration and a diversity of approaches.

Confronted with the ascent of lyric tragedy or with the great orchestrations by Rameau, Mondonville or Rebel-Francoeur, a completely new school is born at the beginning of the century, presenting new composers such as Grétry, Monsigny and Philidor.

Far away from the musical opulence of an opera such as Platée, simplicity first is the magic word for these authors, whose only aim is to introduce a new genre.

And in this context, we are going to talk of André Danican Philidor, a master in this field and a perfect example of this pioneer movement.

André Danican Philidor

Born in Dreux in 1726, he very soon becomes the page boy of Campra, at the time the Maître of the Chapelle Royale (Royal Chapel Master). A few years later, he presents his first religious pieces in front of the King ... which earns him some compliments. Trained in the French school, the composer very soon decides to complete his knowledge by travelling, among others in Holland, England, Germany and Italy ... a very complete training indeed.

Back in France in 1754, he fully devotes himself to music (his other passion being chess!). He then participates in performances at the Opéra Comique and at the Comédie Italienne, but it is on the boards of the St Germain and St Laurent fairs that his works are welcomed with the greatest enthusiasm.

A true master work, Le Maréchal Ferrant is thus presented on the St Laurent stage more than a hundred times in a row.

Le Maréchal Ferrant

La Grenouille, extracted from Le Maréchal Ferrant

And again the success of our composer undoubtedly arises from the surprising clarity of his music writing in this piece, at a time when comic writing tended to be supported by overloaded orchestration. Two violins, one bass continuo, two flutes and one oboe in one tune are enough for staging Le Maréchal Ferrant (contrary to some of his other compositions where instrumentation is much more prominent, as in Tom Jones).

In the name of writing simplicity (without being plain however) and also because of the obvious introduction of madrigalisms (with the use of formulas describing either feelings or natural noises), the piece belongs to the comic opera genre while reviving at the same time the old comedy ballet of the 17th century. A reform or even a restoration, this composition is considered as a perfect example for the buffoon-comedy genre, revealing its author as a true pioneer in the area.

A buffoon opera in the noblest meaning of the word, Philidor is an unavoidable pathway toward the so-called comic opera big stages that are indeed much more becoming and respectable but are still bathed in the spirit of the Fair.

Coralie Welcomme

Translation Rosine Lang